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Journal articles on the topic 'Pavilions'
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1
Ivashko, Yulia, Peng Chang, Andrii Dmytrenko, Justyna Kobylarczyk, and Michał Krupa. "Specifics of stylised shapes of Chinoiserie-style pavilions as the basis of their restoration." Muzeológia a kultúrne dedičstvo 12, no. 2 (2024): 27–41. http://dx.doi.org/10.46284/mkd.2024.12.2.2.
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This article analyses the phenomenon of Chinoiserie style in European architecture. The basic principles of Chinese landscape design and the role of pavilions in the natural environment are highlighted. The fundamental difference between European and Chinese pavilions is shown at different levels – from the structure of the park to the composition to individual details – and it is also shown that European Chinoiserie-style pavilions were a much simplified and averaged version of the Chinese ones.The ambiguity of purpose and variety of functions inherent in ancient Chinese pavilions are lost in European ones, as the “Chinese-style” pavilion is intended for only one purpose – aesthetic entertainment. The appearance of the European pavilion, sometimes called a “tea pavilion”, does not follow that of ancient Chinese tea ceremony pavilions. In addition, the European park pavilions cannot be compared to the most famous Chinese “landscape pavilions”, as none of the former are located in such a majestic landscape with the possibility of viewing from a long distance.
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Li, Jing, Yi Wei, and Dai Quan Xiao. "Analysis of Building Technology on WANGYUE Pavilion of Golden Phoenix Temple." Applied Mechanics and Materials 357-360 (August 2013): 233–37. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.233.
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The Pavilion structure, as a perfect blend of beauty, practicability and flexibility, is widely adopted in Chinese classical gardens. Besides, pavilions about which a plenty of poems and tales have been made are so delicate, mysterious and gorgeous that they are usually very ideal places for recreation. Focusing on the renowned WANGYUE Pavilion of Golden Phoenix Temple, this paper aims at studying the construction technologies on double-eaves pavilions of timber structure used in Qing dynasty, by means of site survey and other investigating approaches. According to the investigation, the typical and traditional construction technology in south China on double-eaves pavilions was adopted, and the octagonal pavilion with double eaves and pyramidal roof was completed mainly using three beam-erection approaches such as the method of corner beam in the horizontal direction, the method of girder and the method of lever. This pavilion, as a representative structure with reasonable loading form, is constructed in good agreement with local culture and environment, which can provide certain valuable references for the design and construction of antique pavilions nowadays.
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Tang, Chen Hui, Li Chang, and Hai Tao Guo. "The Exploration on the after Use of the Expo Pavilion." Advanced Materials Research 512-515 (May 2012): 2927–30. http://dx.doi.org/10.4028/www.scientific.net/amr.512-515.2927.
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The expo 2010 in Shanghai from May 1st to October 30th has ended, after six months, 55billion dollars, and 73million visitors. According to the rules of the Bureau International des Expositions, the global governing body of Expos, all the pavilions on the expo site should be taken down. However that will put the Shang Hai Expo into dilemma, as which was characterized by its greenness, expo pavilions destruction will create tons of waste instead of “better city, better life”. Except for the China Pavilion and Expo performance centre, other pavilions have to wait to be chosen either remained or removed to other location. Therefore this thesis is trying to make some case analyses of the Expo pavilion in the history and explore the potential of the temporary building.
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Ivashko, Yulia, Dominika Kusnierz-Krupa, and Chang Peng. "History of origin and development, compositional and morphological features of park pavilions in Ancient China." Landscape architecture and art 15 (March 23, 2020): 75–82. http://dx.doi.org/10.22616/j.landarchart.2019.15.08.
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The article analyses the origins of such a small architectural form as the Chinese pavilion, investigates its functional, planning and artistic figurative features. The evolution of functional and artistic figurative solution of pavilions from dynasty to dynasty is determined. On the basis of the dimensions of the preserved pavilions, their proportional and metro-rhythmic features were determined; a list of the most characteristic forms of roofs as the main exponents of the national originality of the Chinese pavilions was compiled. The reasons for the revival of the tradition of “chinoiserie” style in modern landscape design are argued.
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Kim, Mijung, and Jeonghae Park. "A Study on Positions of Pavilion in Han River based on Fengshui Landsce." Barun Academy of History 16 (September 30, 2023): 173–99. http://dx.doi.org/10.55793/jkhc.2023.16.173.
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This study is to analyze the Feng Shui environment focusing on positions of pavilions, which were regarded as a dreaming space for the aristocracy called Sadaebu(士大夫) at that time in Han River by conducting location analysis for them and it is to suggest common characteristics of Feng Shui landscape. During the early Joseon Dynasty, in order to appreciate the landscape around Han River, the royal family and Sadaebu constructed pavilions, and they utilized pavilions as a measure to achieve an ideal space which is the unity of Heaven and Person called Cheonin Hapil from Neo-Confusion. They constructed them not just on a spot with aesthetically beautiful landscape but on a carefully selected location where Taoist Doctrine and Feng Shui theory were harmonious. They designed the pavilions to be filled with refreshing coolness of wind and flowing water beneath the pavilions. It is the pavilion that they showed themselves off and only masculinity existed with vigor. As they wanted to show off their power by building pavilions along Han River, people today wish to live in an apartment with a nice view overlooking Han River. It is verified because the locations where pavilions once stood have been changed into apartment complexes.
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Khaskheli, Rabia, and Weiping Zhang. "Analysis of Historical Built Baradaris (Pavilions) Architecture in Pakistan." International Journal of Scientific & Engineering Research 12, no. 07 (July 25, 2021): 1356–70. http://dx.doi.org/10.14299/ijser.2021.07.12.
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Baradaris (Pavilions) made by Ali Mardan Khan, one of the most important Persian nobles of Shah Jahan’s reign, Sikh era Pavilions, Pathan’s Pavilion, Prince Kamran’s Baradari and other nobles in the dynasty of Mughal was a significant contribution to the field of architecture and landscape design. Their lives Histories are documented, but their contributions in the context of Mughal architecture haven’t received adequate attention from scholars.
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Kadurina, A. O., and Yu S. Nazarchuk. "Symbols of the Dyukovsky Park constructions in Odessa. Heritage of the 1950s agricultural exhibition." Collected Works of Uman National University of Horticulture 1, no. 97 (December 28, 2020): 181–90. http://dx.doi.org/10.31395/2415-8240-2020-97-1-181-190.
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Purpose. The research is devoted to the analysis of the agricultural exhibition pavilions symbolism in Dyukovsky Park in Odessa in 1950s years. Methodology. Field study and bibliographic research, synthesis and analysis, historical method, and method of analogies are used in that work. Results. The stages of Dyukovsky Park formation have been studied, from the Duke de Richelieu, which gave the name to the park, dacha creation to the active construction and landscaping of the park in the XX century. In particular, from the symbolism point of view, the architectural and artistic decor of the agricultural exhibition pavilions of the 1950s years is analyzed. These are: a pavilion of Vegetable growing which is crowned by layers of wheat and a 5-pointed star (the first place in the wheat export); the pavilion of the Textile Industry and other goods decorated with jugs and towels with symbols of fertility and abundance; the pavilion of the Vinery State Farms with plant motifs and the Fish Pavilion with high reliefs of fish, anchors, ship noses and bas-reliefs of nets (active development of sea fishing). In general, the symbolism of all presented pavilions reflects the idea of wealth, prosperity and active development of the main directions of agriculture and industry of the country. For the first time, the architectural heritage of the agricultural exhibition, which is the compositional core of the Odessa Dyukovsky Park, is analyzed from the symbolism point of view. At the same time, the decoding of the semantic loads inherent in the architectural and artistic decor of the pavilions is correlated with the theme of the exhibition, as well as with the historical features of the construction period. Today, all buildings of the former exhibition pavilions are empty or are used as warehouses. Perhaps the analysis of the information code of these buildings will again attract the attention of the city authorities to the issues of reconstruction of the city's historical heritage, reviving it.
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Li, Guanjun, Chenping Han, Jiamin Shen, Xinyu Wang, Tao Gu, Zhongju Yang, and Lin Zhang. "A Demographic Characteristics-Based Study on the Visual Impact Assessment of the External Form of Entrance Pavilions to the Underground Stations of China’s Subway." Applied Sciences 13, no. 6 (March 22, 2023): 4030. http://dx.doi.org/10.3390/app13064030.
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The subway is one of urban residents’ main means of public transportation. The design of entrance pavilions to subway stations has shown a diverse development trend over time. Since most of the subway building space is underground, it is very difficult for subway users or the public to view the structure fully. In this instance, the ground-level entrance pavilion becomes the most eye-catching element in the subway system. From the perspective of the urban spatial environment, the external form of entrance pavilions is one of the components of urban architecture. The design of the external form of entrance pavilions has an important impact on the urban spatial form and affects people’s feelings about the urban space. Therefore, it is essential to study the external form of entrance pavilions. This study investigated 42 subway entrance pavilions in 17 cities in China. The following features were studied: exterior contour, façade permeability, cultural characteristics, decorative materials, and the number of exterior colors. The photostimulation method was adopted to evaluate the influence of the physical features of the external form of the entrance pavilions on respondents’ visual impact assessment. The data analysis showed that respondents with different demographic characteristics provided different visual impact assessments of the external form of the entrance pavilions, and all five physical features influenced their assessment. This study offers a valuable reference for constructing entrance pavilions and urban spaces in Chinese cities in the future.
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Udovički-Selb, Danilo. "Facing Hitler’s Pavilion: The Uses of Modernity in the Soviet Pavilion at the 1937 Paris International Exhibition." Journal of Contemporary History 47, no. 1 (January 2012): 13–47. http://dx.doi.org/10.1177/0022009411422369.
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Overwhelming the Trocadéro’s majestic esplanade, the Soviet and German pavilions faced each other in a commanding gesture across the central axis of the Paris ‘Exposition des arts et des techniques dans la vie moderne’ – the last French World’s Expo in the twentieth century. More often than not, the two pavilions have been dismissed in architectural terms as having merely ‘competed in archeological rhetoric’. In this article I argue, with a primary focus on the Soviet Pavilion, that far from displaying such reductive and unambiguous architectural qualities, each pavilion offered, in two very different ways, a complex response to the challenges of an exhibition dedicated to ‘modern life’. The two instrumentalized for their own political purposes both modernity and historicism. From two radically different ideological starting points, the pavilions exploited some significant aspects of the defunct avant-gardes, while reaching out, in different degrees, for stabilizing references to classicism. Frank Lloyd Wright’s unwavering admiration for the Soviet Pavilion, the main topic of this article, resonates with the astonishing discovery of white Suprematist ‘Arkhitektoni’ by Malevich’s disciple, sculptor Nikolaj Suetin gracing the interior of the Soviet Pavilion. The legacy raises the question of thus far unsuspected survival of the architectural avant-garde deep into the years of Stalin’s totalitarian terror.
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Ghelichi, Pedram, and Jingxiang Zhu. "Sverre Fehn’s Brussels and Venice pavilions: the process of becoming different." Architectural Research Quarterly 24, no. 3 (September 2020): 226–38. http://dx.doi.org/10.1017/s1359135520000378.
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The early career of Sverre Fehn, the influential Norwegian architect, is marked by the designs of pavilions which were constructed shortly after each other for two major competitions: The Norwegian Pavilion for the World Exposition in Brussels (1956–1958) and The Nordic Pavilion at the Giardini site of the Venice Biennale (1958–1962). This paper studies the process which led from design to construction for both pavilions, identifies structural changes during that process, and investigates the causes and effects of such changes. A study of Fehn’s hand-drawn sketches and photos of models, made throughout the design and construction stages, reveals that despite functional and formal similarities the two pavilions’ development process and the changes which they underwent are noticeably different. The pursuit of ‘abstract space’ during the competition stage for the Brussels Pavilion was tested by considerations of construction only later on, creating a critical tension in the project. Not only did the organisation of structural components change significantly during the design process but the logic of construction underwent a complete transformation. Nevertheless, this transition between different iterations of the Brussels Pavilion suggested an alternative approach for the Venice Pavilion in which the initial thought of construction became a projection, rather than an abstract imitation of built reality. The spatial intention and construction-related considerations of the Venice Pavilion were addressed by a ‘synergetic’ structural principle, implicit in the competition scheme. This unprecedented feature significantly enlarged the ‘space of possibility’ of the roof structure, which provided for adaptation to indeterminacies without compromising the initial design intentions. Changes in the design of the Brussels and Venice Pavilions, therefore, differ in the ways in which they evolved from design to completion: sequential and abrupt, vs. gradual and continuous. This sheds light on a critical shift in the work of an influential architect and the way he approached design indeterminacies, rather than forcing them into submission.
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Kim, Hyon-Sob. "Representing Korean architecture in the modern West: two Korean Pavilions from 1960s international expositions." Architectural Research Quarterly 21, no. 2 (June 2017): 155–70. http://dx.doi.org/10.1017/s1359135517000288.
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The Korean Pavilions for the 1964 New York World's Fair and the 1967 Montreal International Exposition were designed by Chung-Up Kim (1922-88) and Swoo-Geun Kim (1931-86) respectively, two pioneers of modern architecture in Korea. Both pavilions’ designs raise a widespread architectural question about the modern representation of tradition. In contrast to earlier pavilions in Chicago (1893) and Paris (1900) that replicated poorly supposedly ‘authentic’ Korean architecture, these 1960s entries modernised traditional architecture from their architect's creative viewpoint. While Chung-Up Kim noted the formal qualities of the Korean sloped roof, especially its curvilinearity, Swoo-Geun Kim emphasised the traditional timber structure underneath the roof, exaggerating its horizontal layers. In other words, the former's pavilion was more expressive and sculptural, which reflected the architect's Corbusian and even Aaltoesque tendencies. Conversely, the latter pavilion was more logical and systematic. However, Swoo-Geun Kim's interpretation of tradition was also ultimately about the form, though he soon became more interested in space. With regard to the form, the two Kims shared the fundamental idea that the past must not be imitated as it was, but re-created in a modern sense. This underlying argument is reflected in the contemporary ‘debate on tradition’ ignited by the design competition for the National Museum of Korea in 1966. It also relates to to the ‘Japanese-Style Scandal’ of 1967 in which Swoo-Geun Kim suffered for his design of the Buyeo National Museum, 1965-68, due to the inclusion of Japanese nuances in the design of the Montreal Pavilion. Swoo-Geun Kim's later high-tech style pavilion for the 1970 Osaka Expo, alongside recent projects by Minsuk Cho in Yeosu (2010) and Venice (2014) has more recently suggested alternative ways to represent Korea in architecture. Therefore, these two pavilions from the 1960s can be understood as unique inflection points in Korean architectural history.
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Mleșnițe, Mihai, and Ioan Stelian Bocșan. "COST-EFFICIENCY ANALYSIS OF A MULTI-PAVILION HOSPITAL IN CLUJ COUNTY." Medicine and Pharmacy Reports 89, no. 1 (February 2, 2016): 110–16. http://dx.doi.org/10.15386/cjmed-606.
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Background and aim: Multi-hospital health systems have become the most popular administrative structure in healthcare, leading to both opportunities and challenges for hospital administrators. In government-funded healthcare systems, there is a balance between costs and the provision of health services.The aim of the present study is to assess the efficiency in terms of costs of a multi-pavilion hospital from Cluj County, Romania.Methods: The institution analyzed in this article is the Adults’ Clinical Hospital in Cluj-Napoca. A descriptive retrospective study collected data from January 2004 to December 2010. A set of indicators were compiled, divided into three main categories: personnel, statistics, and financial.Results: Twenty-one financial indicators were investigated. Heterogeneity between different years was observed for the continuous hospitalization indicator and the wage budget indicator. The highest variability was observed between the budget and expenses indicators, while a smaller variability was observed at the average costs per patient. The costs per patient have increased at all pavilions in the studied time frame, the higher costs being at the Internal Medicine and Surgery pavilions: 10,203 RON in 2010 (1 euro ~ 4.4 RON)Conclusion: The pavilions included in the Adults’ Clinical Hospital Cluj-Napoca have different expenses patterns, as each pavilion is focused on different specialties. Each pavilion serves different target groups, requiring different procedures. This in turn results in different expense patterns across each pavilion.
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Hochstrasser, Rahel. "Die Inszenierung einer «Schweizer Hygiene». Der Schweizer Pavillon an der Internationalen Hygiene-Ausstellung Dresden, 1911." Gesnerus 75, no. 2 (November 6, 2018): 200–234. http://dx.doi.org/10.1163/22977953-07502003.
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In May 1911, the fi rst International Hygiene Exhibition opened its doors in Dresden. Plenty of objects relevant to the fi eld of hygiene were found in various halls on the spacious showground. In addition, 30 national pavilions were built along an avenue. One of these pavilions was the «Schwyzer Hus», the Swiss pavilion. At the beginning of the twentieth century Swiss representatives were part of an international scientifi c network. They collaborated to develop what became known as scientific hygiene. This paper analyses the planning, realisation and reception of the Swiss pavilion. I want to show how the Swiss experts of hygiene positioned themselves among the other nations and how they worked to establish a «Swiss hygiene».
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ShEINA, T. V., and A. V. IVANOV. "CONSTRUCTION AND BUILDING MATERIALS IN ARCHITECTURE OF NATIONAL EXHIBITION HALLS AT THE WORLD UNIVERSAL EXHIBITION OF THE EXPO." Urban construction and architecture 1, no. 4 (December 15, 2011): 38–44. http://dx.doi.org/10.17673/vestnik.2011.04.8.
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The results of investigating structural solution and building materials of exhibition pavilions of Russia taken at different epochs are presented in this article. Features of architectural formation of exhibition pavilion demonstrate the application of new build materials and constructions. There is presented the development building technology trends, which find the further application in the world architecture. Innovative architectural methods, the unusual thing of setting and forms of pavilions show the achievements of Russia in such areas as science, culture, technology and building materials at its best.
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Mallinson, Helen. "Zumthor's hairy paradise." Architectural Research Quarterly 15, no. 4 (December 2011): 304–8. http://dx.doi.org/10.1017/s1359135512000061.
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Every year since the beginning of the new century, the Serpentine Gallery in London has commissioned a summer pavilion from a famous architect. This summer, a new book Ten Years Serpentine Gallery Pavilions was published by Taschen Verlag to coincide with the opening of the eleventh annual pavilion, designed by Peter Zumthor. Helen Mallinson reviews Zumthor's pavilion here, in the context of the decade-old pavilion programme.
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ShEINA, T. V., and A. V. IVANOV. "THE CONSTRUCTIVE DECISION AND BUILDING MATERIALS OF EXHIBITION PAVILIONSOF GREAT BRITAIN THROUGH THE EXAMPLE THE FIRST AND LAST WORLD EXHIBITION-EXPO." Urban construction and architecture 1, no. 3 (September 15, 2011): 86–91. http://dx.doi.org/10.17673/vestnik.2011.03.19.
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The results of investigating structural solution and building materials of exhibition pavilions of Great Britain taken at different epochs are presented in this article. Features of architectural formation of exhibition pavilion demonstrate the application of new building materials and constructions. There is presented the development building technology trends, which find the further application in the world architecture. Innovative architectural methods, the unusual thing of setting and forms of pavilions show the achievements of Great Britain in such areas as science, culture, technology and building materials at its best.
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V., Proskuryakov. "DESIGNING THE ARCHITECTURE OF THE FIRST UKRAINIAN NATIONAL THEATER PAVILION FOR THE WORLD EXHIBITION." Architectural Studies 6, no. 1 (September 1, 2020): 120–27. http://dx.doi.org/10.23939/as2020.01.120.
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The paper presents the design search for the architecture of the Ukrainian pavilions for world theater forums and, in particular, the design decision for the architecture of the First Ukrainian National Theater Pavilion at the Prague Quadrennial 2019.
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Lee, Ju-Won, and Keun Young Huh. "An Inference of Plot Design Method Applied to Pavilions in the Rear Garden of Changdeokgung Palace as World Cultural Heritage." Journal of People, Plants, and Environment 26, no. 3 (June 30, 2023): 257–67. http://dx.doi.org/10.11628/ksppe.2023.26.3.257.
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Background and objective: It is necessary to study traditional plot design methods or manners that the engineers in Joseon Dynasty were inferred to have conventionally applied to garden spaces or buildings. This study aimed to infer a conventional plot design method practiced by the engineers who created pavilions in Joseon Dynasty.Methods: The four pavilions were selected, whose original design drawings or documents are still unavailable to reveal the method or manner. The actual measurement plot design layouts measured and drawn on the spot by Cultural Heritage Administration (CHA) were analyzed. A geometrical approach was adopted to infer a method that drew the plot design layout on the ground using only non-gauged rulers (or strings). In the analysis, basic figure frames such as circles or lines were overlaid on the actual measurement drawings, and whether they matched was checked. Then, we inferred the sequential processes of the plot design method to implement the layout on the paper or the ground.Results: It was inferred that the plot design layouts of the four pavilions might have the same method. The results suggested that the engineers in Joseon Dynasty, without accurate numeric scale bars or protractors, might apply a geometrical method to determine the position of each pavilion pillar with the figures and intersections created in composing two identical circles overlapping by the radius. Two drawing processes implemented by the method inferred to reproduce the layout of Buyongjeong pavilions with a complex structure coincided with the actual measurement plot design drawing.Conclusion: The result could infer a plot design method and process applied to the four pavilions in the Rear Garden of Changdeokgung Palace in Joseon Dynasty. It may be a drawing method using string as a numeric scale bar or protractor, which could be used to interpret and reproduce the plot design of traditional Korean garden pavilions built in Joseon Dynasty.
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Long, Declan. "Necessarily Provisional: Ireland at the Venice Biennale." Journal of Curatorial Studies 10, no. 1 (April 1, 2021): 26–49. http://dx.doi.org/10.1386/jcs_00030_1.
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Ireland’s history at the Venice Biennale is one of uncertain circumstances and regular mobility. This article reflects on Ireland’s status as one of the non-permanent, ‘provisional’ pavilions at the Biennale, and considers the multiple ways in which Irish exhibitions (since the early 1990s) have dealt with curatorial challenges in this unpredictable context. By tracing the history of Ireland’s diverse exhibitionary efforts to test models of national representation away from the Biennale’s core group of settled, permanent pavilions, I argue (with reference to writings by Maria Lind and Irit Rogoff) for the merits of curating in a ‘provisional’ mode, finding useful lessons in Ireland’s varying levels of commitment to realizing ‘context-sensitive’ pavilion projects.
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Nikitin, Yury. "ARCHITECTURE OF RUSSIAN EXHIBITION PAVILIONS AT INTERNATIONAL NORDIC EXHIBITIONS IN THE LATE 19TH – EARLY 20TH CENTURIES." Architecture and Engineering 5, no. 4 (2020): 35–43. http://dx.doi.org/10.23968/2500-0055-2020-5-4-35-43.
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Introduction: In the 19th – early 20th centuries, Russia actively participated in world’s and international exhibitions in Europe and the USA. Purpose of the study: We aim to study the typology of Russian expo construction abroad consisting of three branches: construction of model facilities, construction of official ceremonial buildings and facades, and, finally, construction of exposition pavilions. Methods: Despite the inevitable demolition of the facilities, Russian exposition pavilions built abroad always strained after high quality of architecture, which is quite important. Results: A peculiar type of buildings — the Russian national exhibition pavilion — formed, which is traditionally styled after old Russian architecture but, at the same time, meets the new exposition and functional requirements.
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Lima, Elton Cristovão da Silva, Cristina Matsunaga, and Leticia Teixeira Mendes. "Exploring bio-parametric solution-based design process for an ephemeral pavilion." Gestão & Tecnologia de Projetos 17, no. 1 (November 12, 2021): 65–79. http://dx.doi.org/10.11606/gtp.v17i1.183658.
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This research proposes an experimental design approach to design an ephemeral pavilion located at the Serpentine Gallery in London. The Serpentine Pavilions Programme functions as an experimentation laboratory and, at the same time, public and event spaces, enabling architects to expose their projects and work methodologies. Thus, the methods of Biomimicry and Parametric Design were combined to develop the pavilion. While the first one was used to create an ephemeral pavilion based on the Sartorius muscle, the second was responsible for generating the parametric model from a fast and intuitive manipulation code capable of exploring shape variations. This work explores the solution-based method approached by Badarnah (2012) based on a predefined problem (the pavilion project) and only after that seek some natural inspiration. Firstly, it was investigated the anatomy of the Sartorius muscle. Subsequently, with the domain of the solution, the parametric insertion of the shape was computationally performed. The anatomical study of the sartorius muscle revealed functions such as flexion, abduction, lateral rotation of the thigh, and medial rotation of the knee. Thus, the architectural choices reflect both its narrow and elongated morphology of the muscle and flexibility and rotation aspects. The pavilion also considered the previous Serpentine Pavilions regarding attributes such as area, height, and materials, which with other parameters may be changed using the code implemented in Grasshopper.
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Łątka, Jerzy F., and Michał Święciak. "The Obverse/Reverse Pavilion: An Example of a Form-Finding Design of Temporary, Low-Cost, and Eco-Friendly Structure." Buildings 11, no. 6 (May 25, 2021): 226. http://dx.doi.org/10.3390/buildings11060226.
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Temporary pavilions play an important role as experimental fields for architects, designers, and engineers, in addition to providing exhibition spaces. Novel structural and formal solutions applied in pavilions also can give them an unusual appearance that attracts the eyesight of spectators. In this article, the authors explore the possibility of combining structural novelty, visual attractiveness, and low cost in the design and construction of a temporary pavilion. For that purpose, an innovative structural system and design approach was applied, i.e., a membrane structure was designed in Rhino and Grasshopper environments with the use of the Kiwi!3D IsoGeometric analysis tool. The designed pavilion, named Obverse/Reverse, was built in Opole, Poland, for the occasion of World Architecture Day in July 2019. The design and the construction were performed by the authors in cooperation with students belonging to the Humanization of Urban Environment organization from the Faculty of Architecture Wroclaw University of Science and Technology. The resultant pavilion proved the potential of obtaining a low-budget but visually attractive architectural solution with the adaption of parametrical design tools and some scientific background with innovative structural systems.
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Gogić, Sanja, and Duška Prodanović. "The Intersection of Digital and Spatial Immersion: Architecture of Pavilions at Expo Dubai 2020." AM Journal of Art and Media Studies, no. 29 (October 15, 2022): 43–55. http://dx.doi.org/10.25038/am.v0i29.535.
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Expo Dubai 2020 is clear evidence of a 21st-century radical switch regarding the reception of art exhibitions. As Virtual Reality, Augmented Reality, and Artificial Intelligence technologies have already developed enough to show significant influences on art, the following topic considers the merging of architecture and digital art, which are building immersive experiences together. The aim of this paper is to establish the level of inseparability and the type of connection between spatial and digital aspects that cooperatively stimulate and define the movement of visitors. As the creative capacity of architecture and digital art is unlimited in production, three country pavilions, Brazilian, South Korean, and Italian at Expo Dubai 2020, with distinct concepts are analyzed. Selected pavilions were showing diverse approaches to the application of digital technologies within the space, which makes new possible categories to be explored. A strongly emphasized multisensory aspect of spatial experience can be discovered through simple architectural technology in the Brazilian pavilion combined with the symbolic element of water, sounds, and vapors together with digital projections. Symbiosis of digital and architectural components of space is reached in the Italian pavilion by the double shifting of both digital and physical parts of the rope façade. The apparent combination of digital and analog surfaces on the kinetic facade in the Korean pavilion completes the basis for discussion about methods of hybridization of architecture and digital art. Although architecture is, according to Peter Sloterdijk, the original form of immersion, the selected pavilions demonstrate that participants of the state-of-the-art symbiosis of architecture and digital art can experience new types of immersive reception, simultaneously showcasing the application of the concept of mimesis. Article received: May 12, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
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Tosic, Zlata, Sonja Krasic, and Dragoslav Stojic. "Constructive system of reciprocal frames in terms of contemporary architecture." Facta universitatis - series: Architecture and Civil Engineering 16, no. 3 (2018): 415–23. http://dx.doi.org/10.2298/fuace180620018t.
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In this paper, the reciprocal frame constructions are analyzed, starting from their definition, historical survey, to static and geometric characteristics, types and forms. Although very familiar for their shape, their earlier usage in contemporary architecture was not the same as at present. An overview of some of the more recent examples of conceptual solutions and derived pavilions has been established. These structures represent good example for temporary structures in a form of pavilions. Goal in this paper is to design a sample of a closed permanent building combining classical structural systems and RFs. The chosen geometry was predefined as regular in order to use its properties to determine if there is a possibility to form equal units. Finally, based on defined entities, the pavilion?s conceptual design was made using a parametric design in plug-in Grasshopper and Rhinoceros software.
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MANCINI, ROBERTO, LEIGH MURRAY, BENJAMIN J. CHAPMAN, and DOUGLAS A. POWELL. "Investigating the Potential Benefits of On-Site Food Safety Training for Folklorama, a Temporary Food Service Event." Journal of Food Protection 75, no. 10 (October 1, 2012): 1829–34. http://dx.doi.org/10.4315/0362-028x.jfp-11-564.
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Folklorama in Winnipeg, Manitoba, Canada, is a 14-day temporary food service event that explores the many different cultural realms of food, food preparation, and entertainment. In 2010, the Russian pavilion at Folklorama was implicated in a foodborne outbreak of Escherichia coli O157 that caused 37 illnesses and 18 hospitalizations. The ethnic nature and diversity of foods prepared within each pavilion presents a unique problem for food inspectors, as each culture prepares food in their own very unique way. The Manitoba Department of Health and Folklorama Board of Directors realized a need to implement a food safety information delivery program that would be more effective than a 2-h food safety course delivered via PowerPoint slides. The food operators and event coordinators of five randomly chosen pavilions selling potentially hazardous food were trained on-site, in their work environment, focusing on critical control points specific to their menu. A control group (five pavilions) did not receive on-site food safety training and were assessed concurrently. Public health inspections for all 10 pavilions were performed by Certified Public Health Inspectors employed with Manitoba Health. Critical infractions were assessed by means of standardized food protection inspection reports. The results suggest no statistically significant difference in food inspection scores between the trained and control groups. However, it was found that inspection report results increased for both the control and trained groups from the first inspection to the second, implying that public health inspections are necessary in correcting unsafe food safety practices. The results further show that in this case, the 2-h food safety course delivered via slides was sufficient to pass public health inspections. Further evaluations of alternative food safety training approaches are warranted.
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Hasan, Marin, Radovan Despot, Jelena Trajković, Andreas Otto Rapp, Christian Brischke, and Christian Robert Welzbacher. "The Echo (Jeka) Pavilion in Forest-Park Maksimir Zagreb - Restoration and Health Monitoring." Advanced Materials Research 778 (September 2013): 765–70. http://dx.doi.org/10.4028/www.scientific.net/amr.778.765.
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The wooden pavilion Jeka (Echo) was built in 1843 according to the plans of the Austrian Empire garden architect Franz Schücht. Echo pavilion is the only remaining one of ten similar pavilions that were placed in the Forest-park Maksimir during the 19th century. Since 1964 the Echo pavilion has been protected by law and declared as cultural monument of garden architecture together with the whole park Maksimir, in which it is situated. Although the pavilion was restored several times (last time in 1986) it was in very bad condition. The reconstruction and preservation of the complete pavilions wooden construction were done after a careful analysis of its recent state in 2000. Restoration of the “Echo” Pavilion was started because its construction was in poor condition and because the whole pavilion was unsafe. There was a severe decay of the lower parts of the poles, particularly those faced to the North. New poles or only the new parts of the poles were made of glued spruce core surrounded by larch heartwood. Organic solvent Tebuconazole and WOODCAP products were used in wood preservation. The restoration of the Pavilion can be seen as an attempt to extend the life time of a severely damaged cultural monument, or at least in those parts of the monument where the amendments were possible. During reconstruction a monitoring system for wood moisture content at three different positions inside the roof construction was installed. Twice a year the pavilion is being carefully visually inspected and data from data logger downloaded and correctness of the equipment verified.This example of the “Echo” Pavilion is showing that moisture monitoring systems can considerably contribute to prevent cultural heritage from decay. The installed inexpensive and simple monitoring system of early warning proved to be feasible and saved costs in the conservation of wooden cultural heritage. In times of tight budgets and increasing rates of decay moisture monitoring systems will become increasingly important.
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Vergo, Peter. "THE FAR PAVILIONS." Art History 11, no. 2 (June 1988): 286–89. http://dx.doi.org/10.1111/j.1467-8365.1988.tb00303.x.
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Pukhkal, Viktor, Darko Stanojevic, Vera Murgul, and Nikolay Vatin. "Exhibition Pavilions Car Showrooms Based on Translucent Structures: Providing Microclimatic Comfort for Clients." Applied Mechanics and Materials 680 (October 2014): 467–73. http://dx.doi.org/10.4028/www.scientific.net/amm.680.467.
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Transition to a new approach related to use of facades and roofs entirely made of glass in pavilions car showrooms construction called for an additional analysis to evaluate an issue of how to ensure an interior climate. There was a need to have solutions generalized and systematized with the aim to ensure human comfort in pavilions with large glazed areas in facades and roofs. Exhibition pavilions car showrooms based on translucent structures were taken for consideration. General data concerning temperature conditions for the rooms and internal glazing surfaces of pavilions car showrooms based on translucent structures are stated herein. Pertinent information for glazing design is given with due account for winter maintenance conditions in regard to the pavilions car showrooms having significant areas of façade or roof glazing.
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Xie, Yifeng. "From Pagoda to Pavilion: The Transition of Spatial Logic and Visual Experience of Multi-Story Buddhist Buildings in Medieval China." Religions 15, no. 3 (March 20, 2024): 371. http://dx.doi.org/10.3390/rel15030371.
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Pagodas and pavilions (ge 閣) are the most popular and representative multi-story buildings since Buddhism was introduced to China. While providing visitors with a new visual experience, they have also largely reshaped the urban space and skyline in medieval China. The former originated from India and Central Asia and was transformed in China, developing a unique style; The latter originated more from the creation of Chinese architects and became a model of typical Chinese-style Buddhist architecture. Briefly, the pagoda matured earlier than the pavilion, and continuously developed while maintaining its basic style; the pavilion-style Buddhist architecture gradually developed later and finally matured after the Tang and Song dynasties (618–1276), partially presenting a different spatial logic from the pagoda, and bringing a new visual experience. In my opinion, although the pavilion may not necessarily be as large as the pagoda in terms of volume and absolute height, it can provide believers with greater visual impact in the internal space for worship, due to the cross-story giant Buddhist statues; the closer integration of Buddha statues and architecture makes it replace or share the core position of the pagoda in some monasteries and even become the visual center of the entire religious space. Due to the existence of the pavilion, viewers can not only worship the Buddhist statues on a two-dimensional plane or by looking up at the statues from the bottom, but have also gained a three-dimensional perspective, to worship directly at the Buddha’s shoulders, neck, and head. In the Buddhist grottoes, the layout of the early single-layer or multi-layer horizontally distribution of caves on cliff was also changed due to the excavation of the cross-layer giant statue grottoes, covered by multi-story pavilion-style buildings, providing viewers with a visual experience similar to that of the pavilions of great statues. Additionally, there is a new visual experience of worshiping the Buddha in a vertical circle, in cases such as Bamiyan and the Leshan Giant Buddha.
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Zhang, L., W. Dong, T. Zhou, and Z. Ba. "ANALYSIS OF JIAYUGUAN [嘉峪关] PAVILIONS' DEFORMATION AND ITS INFLUENCE FACTORS WITH THE APPLICATION OF COMPREHENSIVE TECHNOLOGY." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 5, 2019): 1187–92. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-1187-2019.
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<p><strong>Abstract.</strong> In the case study of Guanghua Pavilion [光化楼] located in Jiayuguan [嘉峪关] City, Gansu province in China, the 3D laser scanning technology and leveling technology are used to analyze overall tilt, columns tilt and uneven settlement of the pavilion. It is found that Guanghua Pavilion [光化楼] tilted to the southeast; most of the columns from the first floor to the third floor tilted to the northeast and east directions, and all the tilted distance of the columns is within 100 mm.; a certain amount of uneven settlement happened on Guanghua Pavilion [光化楼], in which the east side sinks more obviously. In the process of analyzing the influencing factors of deformation, numerical wind tunnel simulation and Midas Gen modeling methods are used. It is concluded that the external wind load is the main cause of Jiayuguan [嘉峪关] pavilions’ deformation.</p>
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Fainholtz, Tzafrir. "The Jewish farmer, the village and the world fair: politics, propaganda, and the “Israel in Palestine” pavilion at the Paris International Exhibition of 1937." SHS Web of Conferences 63 (2019): 10004. http://dx.doi.org/10.1051/shsconf/20196310004.
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At the Paris International Exhibition of 1937, a few steps from the Nazi Germany and USSR pavilions theYishuv(Palestine's Jewish Zionist community) had its own presence, the “Israel in Palestine” pavilion. Initiated by the Zionist leadership, the pavilion was a hybrid construct of modernist and traditional architecture; its front was made from concrete and glass, its rear modelled on Palestine's rural vernacular architecture, with arches and terraces. Inside the pavilion, the exhibition depicted the achievements of the Zionist Jewish resettlement project, presenting it as a solution for the so-called “Jewish question”. Conceived as part of an orchestrated effort by the Zionist movement to use the World Fair, the professional architectural media, writers, and architects to gain support for the movement's activities, the pavilion sought to present Palestine's settler society as both modern and well rooted, and to display the renaissance of nationhood through the representation of the Jewish farmer on the international stage.
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Ricci, Clarissa. "From Obsolete to Contemporary: National Pavilions and the Venice Biennale." Journal of Curatorial Studies 9, no. 1 (April 1, 2020): 8–39. http://dx.doi.org/10.1386/jcs_00009_1.
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For over a century, the Venice Biennale and its national pavilions have served as a platform for international artistic display. Despite the fact that national representation has been a pivotal aspect of the Biennale since the first pavilion was built in 1907, there is a lack of deep understanding of the nature of this model. The purpose of this article is to offer an historical account of the conceptual and material predicament of national representation at the Venice Biennale. The focus is directed mainly at the introduction in 1993 of a more transnational approach in the context of an increasingly interconnected and globalized world.
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Suau, Cristian. "Metsäpaviljonski, Form Follows Wood." Designing Modern Life, no. 46 (2012): 42–47. http://dx.doi.org/10.52200/46.a.e19kw0yb.
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Nowadays, the emphasis in the design of exposition pavilions is mainly full of pseudo–technical or rhetorical ideas of progress. Nevertheless most of them do not communicate a vision. They show a lack of spatial qualities and continuity with the built environment. In general, there is not a common conservation agenda to adapt or reuse exemplary Modern Pavilions. Some emblematic cases are haunted icons, a consequence of undocumented, incorrect or simply fake reconstruction, whilst others are victims of neglectfulness and degradation. Nevertheless, what can we still rediscover by reviving or reconstructing Modern Movement Exposition pavilions? During the 1930s, pavilions were not only visionary and experimental manifestations of living systems but were also temporary and fast–built showrooms disseminating a cultural or ideological message.
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Ibrahim, Iman, and Balsam Munadhil Al-Chaderchi. "Exploring sustainable approaches at Dubai Expo 2020: a blend of biophilic and biomimicry designs." Revista Hábitat Sustentable 13, no. 2 (December 31, 2023): 22–35. http://dx.doi.org/10.22320/07190700.2023.13.02.02.
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Dubai Expo 2020 provides an international platform for advancing innovation through meticulously curated exhibits with themes such as sustainability and cultural exchange displayed in pavilions dedicated to individual countries. This research study uses biophilic or biomimetic design strategies to assess the sustainability practices employed in a group of pavilions at the Dubai Expo 2020 that employ biophilic and/or biomimetic design strategies. Biophilic philosophy emphasizes nature-based concepts to foster positive relationships between humans and living organisms, whereas biomimicry imitates natural processes/systems for building practices. Incorporating biophilic and/or biomimetic techniques into pavilion design provides visitors with a one-of-a-kind experience while displaying explicit sustainability principles that go beyond the event's existing architectural framework guidelines. The research evaluation process includes architectural structure designs, materials used during production/creation periods, energy efficiency measurements implemented, and sustainable water management plans based on natural ecological systems. It will also evaluate the adherence of each pavilion chosen to genuine sustainability values by analyzing the incorporation of nature-based concepts into its overall design for potential future reference applications. These techniques have significant potential to improve human health, reduce environmental impact, and encourage global resiliency when implemented beyond Dubai Expo 2020. In conclusion, the research aims to inspire sustainable designs well beyond the Dubai Expo 2020 by demonstrating how biophilic or biomimetic practices are crucial facilitators in constructing spaces that maximize human welfare without endangering the environment. It is also a foundational resource for architects and urban planners committed to advancing sustainable architectural practices through future development projects prioritizing human welfare and environmental protection.
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Voytyuk, M. M., and P. N. Vinogradov. "New Technological Solutions for Year-round Maintenance of Bee Colonies in Mobile Pavilions." Machinery and Equipment for Rural Area, no. 5 (May 25, 2022): 32–34. http://dx.doi.org/10.33267/2072-9642-2022-5-32-34.
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New technologies for year-round maintenance of bee colonies in mobile pavilions are analyzed. The distinctive features and optimal conditions for keeping bee colonies in year-round mobile pavilions and ordinary hives are revealed.
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Rivers, Kate. "Art Promotion: Far Pavilions." Circa, no. 72 (1995): 29. http://dx.doi.org/10.2307/25562811.
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Perkowska, Krystyna. "Dom Meblowy w Gdańsku." Porta Aurea, no. 22 (December 29, 2023): 192–210. http://dx.doi.org/10.26881/porta.2023.22.10.
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The departure from socialist realism in the late 1950s allowed architects to reach for innovative forms. These included free‑standing pavilions: low, horizontal buildings with extensive glazing. One of them was the former Furniture Showroom in Gdańsk opened in 1961. It was designed by Lech Kadłubowski who might have drawn some inspiration from Vjenceslav Richter’s Pavilion of Yugoslavia at the EXPO ’58 in Brussels, which was known in Poland from trade press publications.
Creating a sharp contrast with the neighbouring historic Highland Gate and the Foregate Complex, the modernist Furniture Showroom seemed to stand in opposition to the surrounding architecture, and yet fit in the urban and historic context thanks to the reference it made to the height of the defensive embankments that had once existed at the location. Due to defects in materials and workmanship as well as its remodelling in the 1970s, the former Furniture Showroom lost its original aesthetic appeal. As a result of economic changes after the political transformation at the end of the 1980s, the low free‑standing pavilion became obsolete as a commercial building. High prices of plots for commercial development and commercial space rental make it profitable to demolish pavilions from the 1960s and 1970s, and replace them with multi‑storeyed buildings. The former Furniture Showroom will likely share this fate.
The situation of the former Furniture Showroom reflects a broader problem: interesting post‑war buildings often fail to be perceived as part of historic heritage by both the general public and preservation experts, because they evoke negative associations with the communist regime in Poland. This leads to the degradation and loss of valuable post-war architecture.
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González Rueda, Ana Sol. "Possessing Nature: The Mexican Pavilion as a Site of Critical Analysis." Journal of Curatorial Studies 9, no. 1 (April 1, 2020): 90–113. http://dx.doi.org/10.1386/jcs_00012_1.
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This article examines the complexities of sustaining a critical curatorial approach in the context of the national pavilions at the Venice Biennale. It discusses Possessing Nature, the 2015 Mexican pavilion, from the author’s insider perspective as Project Coordinator. Curated by Karla Jasso, the exhibition presented an installation by Tania Candiani and Luis Felipe Ortega, and was conceived as a site of critical analysis focused on Venice’s and Mexico City’s environmental crises. This case study sheds light on the contradictory politics of the Biennale by exploring the challenges of introducing an experimental approach to mediation and of constructing the exhibition as a site of active research.
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da Silva, Ingrid Hannah, and Alfredo Suppia. "The Brazilian cinematograph in Dresden." Science Fiction Film & Television 17, no. 2 (June 2024): 283–302. http://dx.doi.org/10.3828/sfftv.2024.13.
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Organized by the German pharmacist and businessman Karl August Lingner, the International Hygiene Exhibition in Dresden took place between May and October 1911. The Exhibition included 13 scientific pavilions built by different countries. The Brazilian pavilion, the sole representative of the Americas, was reportedly quite successful. It introduced European audiences to achievements in unprecedented campaigns to combat yellow fever and Chagas disease. Likewise, the Brazilian pavilion displayed the work of research institutions created between the late nineteenth and early twentieth centuries that gradually reduced the human and social underdevelopment inherited from a colonial past. Each day in the Brazilian pavilion, four scientific films were screened in a packed theater. Yellow Fever (1911), Chagas in Lassance (1909–10), Vacinogenic Institute of São Paulo (1910), and Butantan Institute (1910) synthesized the complexity of a country as large as a continent, a country with enough social inequality to cause perplexity. However, the films screened in the Brazilian pavilion evoked the promise of science overcoming misery. This article aims to explore the boundaries between scientific cinema and popular science, documentary, and sf in two of the Brazilian films screened at the Exhibition in Dresden.
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Martin, Benjamin G., and Elisabeth Marie Piller. "Cultural Diplomacy and Europe's Twenty Years’ Crisis, 1919–1939: Introduction." Contemporary European History 30, no. 2 (March 26, 2021): 149–63. http://dx.doi.org/10.1017/s096077732000065x.
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Photographs of the German and Soviet pavilions facing off at the Paris International Exposition in 1937 offer an iconic image of the interwar period, and with good reason. This image captures the interwar period's great conflict of ideologies, the international interconnectedness of the age and the aestheticisation of political and ideological conflict in the age of mass media and mass spectacle. [Figure 1] Last but not least, it captures the importance in the 1930s of what we now call cultural diplomacy. Both pavilions – Germany's, in Albert Speer's neo-classical tower bloc crowned with a giant swastika, and the Soviet Union's, housed in Boris Iofan's forward-thrusting structure topped by Vera Mukhina's monumental sculptural group – represented the outcome of a large-scale collaboration between political leaders and architects, artists, intellectuals and graphic and industrial designers seeking to present their country to foreign visitors in a manner designed to advance the country's interests in the international arena. Each pavilion, that is, made an outreach that was diplomatic – in the sense that it sought to mediate between distinct polities – using means that were cultural – in the sense that they deployed refined aesthetic practices (like the arts and architecture) and in the sense that they highlighted the distinctive features, or ‘culture’, of a particular group (like the German nation or the Soviet state).
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IVANOV, A. V., and V. M. MEL'NIKOVA. "PROFESSIONAL OUTLOOK AT THE ARCHITECTURAL SHAPING OF NATIONAL PAVILION OF RUSSIA ON THE WORLD’S FAIR OF THE EXPO." Urban construction and architecture 2, no. 3 (September 15, 2012): 19–22. http://dx.doi.org/10.17673/vestnik.2012.03.4.
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Presents the results of a sociological poll on the problem of nation branding in the architecture of the exhibition pavilions. The article describes the main architectural patterns of formation of national exposure. With the help of the sociological survey identified the major trends architectural shaping of the exhibition pavilions. Expert evaluation showed preferences for architectural and planning of professionals.
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Gámiz-Gordo, Antonio, Ignacio Ferrer-Pérez-Blanco, and Juan Francisco Reinoso-Gordo. "The Pavilions at the Alhambra’s Court of the Lions: Graphic Analysis of Muqarnas." Sustainability 12, no. 16 (August 13, 2020): 6556. http://dx.doi.org/10.3390/su12166556.
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This research documents and graphically analyzes the pavilions muqarnas at the Court of the Lions in the Alhambra in Granada, a World Heritage Site. In order to cast some light on the understanding and preservation of these 14th century architectural elements, after a brief report of historical data on catastrophes and restorations, a novel methodology for the case study based on three complementary graphic analyses is presented here: First, there is a review of outstanding images ranging from the 17th to the 20th centuries; subsequently, new CAD (computer-aided design) drawings from pavilions muqarnas testing the theoretic principles from their geometric grouping are accomplished for the first time; and finally, a 3D laser scanner is used to understand the precise present-day state from the point cloud obtained. Comparing drawings allows us to assess the muqarnas relevance while proving, for the first time, that the muqarnas of both pavilions have distinct configurations and different amounts of pieces. Besides, this process reveals geometric deformations existing in the original Nasrid muqarnas compositions, identifying small pieces hitherto unknown, plus additional deformations resulting from adjustments after important threats that both pavilions and their muqarnas overcame for centuries, despite their fragile construction.
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Atasoy, Nurhan. "OTTOMAN GARDEN PAVILIONS AND TENTS." Muqarnas Online 21, no. 1 (January 1, 2004): 15–19. http://dx.doi.org/10.1163/22118993-90000050.
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Atasoy, Nurhan. "Ottoman Garden Pavilions and Tents." Muqarnas Online 21, no. 1 (March 22, 2004): 15–19. http://dx.doi.org/10.1163/22118993_02101003.
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Madra, Beral. "Dark rooms and national pavilions." Third Text 15, no. 57 (December 2001): 101–5. http://dx.doi.org/10.1080/09528820108576950.
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Conant, Jim. "Enumerating Diamond Cuts." MATCH – Communications in Mathematical and in Computer Chemistry 91, no. 3 (December 2023): 593–631. http://dx.doi.org/10.46793/match.91-3.593c.
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We present an algorithm for enumerating all possible faceting arrangements of dihedrally symmetric diamond cuts. We first separate the question into enumerating crowns and pavilions. In each case, the method involves enumerating all plausible graphs within a fundamental domain, and then checking for planarity and triconnectivity using the Tutte spring embedding. Such graphs can be lifted to three dimensional convex crowns or pavilions via the Maxwell-Cremona correspondence.
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Zwoliński, Adam. "DUBAI EXPO 2020 – THE WORLD EXHIBITION IN THE CONTEXT OF ACCESSIBILITY FOR PEOPLE WITH SPECIAL NEEDS." Space&FORM 2023, no. 56 (December 5, 2023): 567–98. http://dx.doi.org/10.21005/pif.2023.56.f-02.
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In today's world, accessibility poses a challenge for all communities worldwide. The achievements and civilizational progress are periodically showcased at global exhibitions. This article addresses the issue of accessibility for individuals with special needs and the implementation of facilities and solutions for accessibility in the context of the 76th World Expo 2020 in Dubai. The aim of the research undertaken in the article was to conduct a comparative analysis of accessibility within the exhibition space and pavilions, focusing on the occurrence of specific issues within the designated research area. The study also delved into individual cases, considering accessibility in various national pavilions at Expo 2020. The results of the accessibility study, conducted based on pre-established criteria, demonstrated the level of implementation of accessibility concepts within the exhibition space and pavilions from both comparative and problem-oriented perspectives.
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Querol, Nuria. "India at the Venice Biennale: Collateral Events From and Beyond the Nation." Journal of Curatorial Studies 9, no. 1 (April 1, 2020): 70–89. http://dx.doi.org/10.1386/jcs_00011_1.
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iCon: India Contemporary (2005) was not only the first collateral event of India at the Venice Biennale, but it also began as a bid to become a national pavilion – an ambition that was ultimately unsuccessful. Drawing on original research and interview data surrounding the exhibition, this article examines the collaborations and conflicts between private art institutions, artists and the state in the context of India’s participation in the Venice Biennale since the 2000s. The article foregrounds a transversal approach – that is, an analytical framework that unsettles the conventional dichotomy between national pavilions and collateral events – and demonstrates how commercial galleries and private art institutions have acquired an important role in the production and exhibition of Indian contemporary art in global biennial circuits.
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Gumerov, R. I., V. B. Kapkov, T. R. Kirian, N. S. Liadovoi, G. I. Pinigin, A. A. Pozhalov, V. P. Sibilev, A. W. Schumacher, N. A. Shkutova, and O. E. Shornikov. "On the Progress of the Construction of the Sukharev Meridian Automatic Horizontal Instrument (MAHIS)." Symposium - International Astronomical Union 141 (1990): 89–90. http://dx.doi.org/10.1017/s0074180900086320.
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The MAHIS is the L.A. Sukharev meridian automatic horizontal instrument. It has all the advantages of the Pulkovo HMC and is devoid, or nearly devoid, of its disadvantages. A scheme of the MAHIS includes a flat mirror of D = 300 mm and two immovable horizontal tubes of D = 190 mm, focal length 8000 mm. There is a pavilion for the central unit and 2 roofed pavilions for eyepiece parts of the tubes. The MAHIS is provided with an automatic registering device, a system for meteorological data collection, and is computer controlled. The work on this telescope is being carried out at the Pulkovo, Kazan and Nikolaev observatories. The expected precision of the instrument is ±0.″05 in both coordinates with respect to systematic errors.
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Russian Sections at World and International Fairs." Advanced Materials Research 1065-1069 (December 2014): 2674–80. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2674.
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Russian exposition pavilions at world and international fairs, expressive and unique in their artistic formulation, were always among the most visible national buildings. Beginning with the first structures at the 1867 World Fair in Paris, Russia presented medieval Russian architectural forms at all subsequent exhibitions. An important feature of Russia’s exhibition building abroad was the supreme desire to achieve high quality despite the fact that the structures were doomed to destruction. Russian architects strove to create an original image of the national exhibition pavilion, and so their appeal to medieval Russian architecture was natural. The path followed by Russia when participating in world and international exhibitions was not chosen by chance. This was the route to Russia’s assertion of her national culture in the West.